Miguel Rodriquez of Monster Island Resort and Will McKinley of Cinematically Insane interview Clute and Edwards on the topic of TCM Presents Into the Darkness: Investigating Film Noir, a free multimedia online course presented by Turner Classic Movies (TCM) and Ball State University. This course is the latest collaboration by the creators of the Out of the Past: Investigating Film Noir podcast series and will benefit from the promotional and social media support of TCM, where Clute now serves as head of Marketing and Editorial, and the innovative multimedia course materials created by Ball State University, where Edwards is Executive Director of iLearn Research. The course is free and open to the public, will run in conjunction with the two-month “Summer of Darkness” festival on TCM, featuring 24 hours of film noir every Friday in June and July, 2015.

Leave a comment here about your favorite films noir for the Out of the Past community. Whether you are a long-time fan or just discovering the great films of the noir tradition, browse through these comments to get viewing suggestions based on what listeners to Out of the Past recommend. These comments create a great crowd-sourced list of film noir titles.

Clute and Edwards are pleased to announce that the Out of the Past podcasts were broadcast by the Australian Broadcasting Corporation, ABC Radio National, as part of their Top of the Pods programming--their selection of the world's best podcasts. (http://www.abc.net.au/radionational/programs/topofthepods/)

It was truly an honor to be included in this program, and a pleasure to hear the podcasts introduced by ABC host Robbie Buck.

OUT OF THE PAST is perhaps the most carefully structured of all films noir--a narrative divided (like protagonist Jeff Markum/Bailey) between an inescapable past and an impossible future, teetering on the slimmest hope for the present such that any action taken by its poor players tips them down into the abyss. Director Jacques Tourneur, cinematographer Nicholas Musuraca and screenwriter Daniel Mainwaring perfectly synchronized their efforts on this film, creating a narrative masterpiece where every image perfectly accompanies or contrasts every line of dialogue, where the whole is so self-conscious that it forces us to view each moment through every other, creating a true mise-en- abyme. It would be as impossible for the viewer to enter into such a story as it is for the characters to escape it, if it weren't for the decision to create a "Meta" narration at exactly the halfway point of the film, allowing the viewer to sort past from present in a film that constantly blurs that distinction in order to show how lives are always lived in servitude to what comes out of the past. For all of these reasons, the film is a constant source of inspiration, and a constant obsession, for those who watch it carefully. Artist and novelist Jonathan Santlofer joins Clute and Edwards to discuss how the film has repeatedly inspired his work, and Clute and Edwards consider how the case they would make for this movie is reframed each time they reopen their investigation into its means and motives.

Appearances can be deceiving. On the surface, INVASION OF THE BODY SNATCHERS is pure science fiction, the tale of seed pods from outer space that produce emotionless body doubles of each citizen in the small town of Santa Mira. Often read as an allegory of either Communism or McCarthyism, where every person who becomes "one of them" loses autonomy by willingly buying into the unthinking collective, the film in fact plumbs questions of humanity in the modern era with subtlety and nuance more common to films noir than to science fiction movies. As Dr. Miles Bennell (Kevin McCarthy) and Becky Driscoll (Dana Wynter) fight to remain human, they question the mass hysteria of the era, recognize that all appearances are misleading in a mass media culture, and discuss how we lose our humanity in times of social dislocation. Director Don Siegal, screenwriter Daniel Mainwaring and producer Walter Wanger draw on their extensive experience in creating iconic films noir to craft a movie that self-consciously adopts a noir style and noir thematics whenever the stakes are high, demonstrating in the process that noir is ideally suited to addressing human questions in the years following WWII, when retaining our humanity in spite of technological progress is precisely what is in question.

A product of Clute and Edwards' longstanding fascination with film noir and hard-boiled literature, this podcast investigates how certain mid-century visual and storytelling conventions evolved into Rockstar Games/Team Bondi's new video game L.A. NOIRE. To some degree, noir and hard-boiled themselves evolved from a 19th-century literary tradition that involved contests of deduction and linear modes of problem-solving (a tradition established by Edgar Allan Poe), but in the wake of two world wars and other evidence of the havoc wreaked by modern "progress" those storytelling traditions evolved into something darker and more nuanced—something that offered less certain outcomes. L.A NOIRE plays on both traditions: it is linear and problem-based in its narrative structure, yet its underlying worldview is as brooding and morally ambiguous as the finest films noir and hard-boiled novels. Like all great digital works it is a mashup that weaves together swaths of historical events and pop culture yarns, and the result is a vast tapestry of noir at once familiar and altogether unique.

While many scholars have focused on noir as a dark visual style, or a worldview marked by the anxieties and stark realities of modernity, few have addressed noir's high degree of self-consciousness or its profoundly quirky humor. In their new book,The Maltese Touch of Evil: Film Noir and Potential Criticism, Clute and Edwards focus on these underappreciated characteristics of noir to demonstrate how films noir frame their "intertextual" borrowings from on another and create visual puns, and how these gestures function to generate both compelling narratives and critical reflections upon those narratives. Drawing on the on the concept of "constraint" articulated by the Oulipo (a French acronym for "Ouvroir de Litterature Potentielle," or "Workshop of Potential Literature"), Clute and Edwards demonstrate that noir was the most constrained of film styles, and the constraints noir embraced gave rise to its infinite variability and unprecedented self-reflexivity--the very characteristics that have often forced scholars to bracket off noir, framing it as an exception to the otherwise tidy world of studio-era American cinema. In this video essay, Clute and Edwards use the simple constraint of run time percentage to recombine iconic moments from 31 films noir and neo-noir, and in the process create a short film that is at once a noir narrative and an investigation into the narrative constraints embraced by noir.

Grab a copy of Clute and Edwards' new noir book today at Amazon.com: http://amzn.to/jCePwG and at other online booksellers.

In December 2011, Dartmouth College Press (University Press of New England) released Clute and Edwards' new study of film noir, The Maltese Touch of Evil: Film Noir and Potential Criticism. This exciting book builds on crucial insights from the Out of the Past: Investigating Film Noir podcasts, and draws on the work of the experimental literary group Oulipo (an acronym for "Ouvroir de Littérature Potentielle," or "Workshop of Potential Literature") to investigate the extreme self-consciousness and high degree of visual punning exhibited by noir. In the process, the book proposes—and serves as a sustained demonstration of—an OuFiNoPo, or Workshop of Potential Film Noir. Part thinking-man’s fan crush, part crazily inspired remix of the most beloved of film genres, this study will help scholars and film fans alike to view film noir afresh, and achieve new insights into even the best known movies.

Clute and Edwards have never solicited donations for their podcasts, for like all good things these podcasts are a labor of love. But they would ask you to…

PLEASE GRAB A COPY of The Maltese Touch of Evil: Film Noir and Potential Criticism, and consider picking up other copies for all your movie-loving friends.

A script by Raymond Chandler. Veronica Lake, Alan Ladd, and William Bendix in leading roles. Costumes by the great Edith Head, and cinematography by Lionel Lindon, who had been nominated for best cinematography just the year before for the Oscar sensation GOING MY WAY. In short, THE BLUE DAHLIA seems to have everything going it’s way. Why, then, does the film fail to deliver the emotional impact of near contemporary titles like THE KILLERS or THE BIG SLEEP? To frame an answer to this question, we must first displace the many frames through which we have become accustomed to viewing the film—most notably Producer John Houseman’s apocryphal account of how Chandler’s alcoholism impacted the screenplay. If we divest ourselves of these frames and really focus on the film, we see that Chandler’s script rescues, rather than compromises, this movie. THE BLUE DAHLIA is more a victim of an identity crisis, a film unable for reasons of censorship and limited artistic vision to commit fully to the noir worldview that came home full force in 1946. And thus, as a marginal success, it’s a film that can teach us a great deal about how noir came to be both a dominant Hollywood style and a philosophical stance.

In this episode, guest investigator Jeffrey Peters (Associate Professor of Modern and Classical Languages at the University of Kentucky), leads a panel of five undergraduate students from his Honors Program course "French Film Noir" in a discussion of Jean-Luc Godard's 1964 BAND OF OUTSIDERS (Bande à part), starring Anna Karina, Sami Frey, and Claude Brasseur. Jeff is a specialist in early modern French literature and culture, poetics and rhetoric, and film studies, and former chair of the Division of French and Italian at UK. He is joined by Honor students Bethany Futrell, Jesseca Johnson, Ryan Palmer, Nick Purol, and Daniel Robbins. To leave a comment on this episode, or make a donation to the podcast, please visit Out of the Past: Investigating Film Noir at http://outofthepast.libsyn.com.

Clute and Edwards welcome guest investigator Megan Abbott , the reigning Dark Dame of Noir. Megan is the author of a superb nonfiction study of hardboiled and noir protagonists entitled THE STREET WAS MINE, and three gut-wrenching throwback crime novels: DIE A LITTLE, THE SONG IS YOU, and QUEENPIN. The first title is scheduled to be released as a United Artists feature film in 2010, with Jessica Biel in the lead role. Megan's choice for this episode is the 1950 Nicholas Ray film IN A LONELY PLACE, starring Humphrey Bogart and Gloria Grahame. To learn more about Megan's work, visit www.meganabbott.com. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit Out of the Past: Investigating Film Noir at http://outofthepast.libsyn.com.

Howard Rodman and Mike White are this episode’s guest investigators. Rodman and White discuss Jean-Pierre Melville’s great 1956 film, Bob Le Flambeur. Howard Rodman is a screenwriter, novelist and USC film professor. His most recent screen credits include Savage Grace and August. Mike White is the publisher and editors of Cahiers du Cinemart, an obscure and obtuse film magazine from Detroit. Visit Mike’s website at impossiblefunky.com. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit Out of the Past: Investigating Film Noir at http://outofthepast.libsyn.com.

Thanks to listener support, Out of the Past: Investigating Film Noiris a featured podcast at iTunes, has generated nearly 200,000 downloads worldwide, and has a per-episode audience of over 4,000. With such a record of success, Clute and Edwards are now able to reach out to a wide range of noir scholars, to use the program as a forum to broaden public discourse on the enduring importance of this distinctively American film style. May's guest is the Czar of Noir, Eddie Muller. Eddie is the Founder and President of the Film Noir Foundation, and the man who organizes the Noir City Film Festival in San Francisco. He is also the author of three superlative studies of film noir (Dark City, Dark City Dames, and The Art of Noir) and two supernal throwback hard-boiled novels (The Distance and Shadow Boxer). Eddie's selection is the 1949 Jules Dassin Film THIEVES' HIGHWAY.

FORCE OF EVIL shows us that small-time graft is less dangerous than big-time rackets that have the law, the trust of the public, and the appearance of respectability on their side. Ultimately, the crime is the system itself, and the very philosophical underpinnings of capitalism are liable. And while Abraham Polonsky's courage in addressing these themes is remarkable, the degree of craft he exhibits as a rookie director is nothing short of astonishing. With Ira Wolfert, he co-authors a script so rich in its ability to expose the poverty of our dreams, and so stylized and impossibly catchy in its dialogue, that it can't help but feel more real than the real. With this script, and uncommon directing talent, Polonsky coaxes career-best performance from John Garfield, Thomas Gomez, and Marie Windsor. And with Director of Photography George Barnes, Polonsky frames some of the most beautiful and narratively rich shots in film history. FORCE OF EVIL may be the noir that most perfectly captures the ambivalent and fearful relationship Americans had to the great cities and great institutions that were the sclerotic backbone of the country after WWII. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at http://outofthepast.libsyn.com.

Rian Johnson's superlative 2005 debut film BRICK is neither a nostalgic tribute nor a modern reaction to noir style. But due to the conditions surrounding its production, it has more in common with classic noir than most films that play overtly with noir tradition: stiletto-tongued hard-boiled dialogue, razor-sharp editing, on-location shooting, the creative use of ambient sound, and narratively-rich canted angle shots and high-contrast lighting allow BRICK to overcome the pitfalls of a small budget and limited crew–just as these same techniques allowed classic films such as DETOUR or THE HITCH-HIKER to do. In fact, financial constraints lend BRICK an artistic coherency it might otherwise lack, for Johnson was forced to write, direct, and edit the entire picture, and to use family to finance and score it. The resulting work is as disarmingly familiar as classic noir and as surprisingly fresh and inventive as its creator, who clearly understands how to borrow from the past where appropriate and innovate whenever possible. Like the work of all great artists, BRICK demonstrates that aesthetic leaps forward find their surest footing in the past.This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

THEY LIVE BY NIGHT is film noir at its best. Edward Anderson's little-known hard-boiled rural bandit novel is made into a screenplay as lean as the post-war dreams of its players. The shifty camera frames every sucker that comes its way, making them false promises then plunging each into a darkness more than night. Rookie director Nicholas Ray mercilessly rolls rising stars Farley Granger and Cathy O'Donnell in the existential muck, but manages nonetheless to show us the ethereal gold that lines their hearts and dreams. Beyond the sublime writing, acting, and directing, what truly sets the film apart is its ruthless humanity, its unwavering determination to show the full spectrum of good and bad in everyone—the shades of gray that haunt the war-battered world of black and white. It is as poignant now as it was upon its release sixty years ago. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

This special episode of OUT OF THE PAST is full of holiday surprises. Clute and Edwards investigate the 2005 neo-noir Christmas comedy THE ICE HARVEST, then speak with Scott Phillips, author of the 2000 hardboiled novel on which the film is based. While the book contains its share of dark humor, it is largely a tale of the moral tipping point in the life of Witchita Mob lawyer Charlie Arglist (played by John Cusack), who discovers his capacity for ruthlessness when backed into a corner. The movie plays down the moral crisis and plays up the comedy, but director Harold Ramis manages to recreate some of the brooding atmosphere of the original story by staging a series of noir tribute shots. Phillips, and Clute and Edwards, all weigh in how successfully the film adapts the book in this double-feature holiday special. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Stuart Heisler's 1942 film THE GLASS KEY retained the personages and major plot twists of Dashiell Hammett's 1930 novel by the same name, but wiped the grim off the original tale. By cleaning up the characters and their motives, the film missed an opportunity to picture its stellar cast (Dunlevy, Ladd, and Lake) in a noir light. Instead, for much of its running time it looks and feels like the glamour whodunnit pictures, or populist clean-government reform films, of the 1930's. Hammett's novel finally received proper treatment in the Coens' 1990 masterpiece MILLER'S CROSSING. Though filmed in color, this movie borrows heavily from classical noir, and gives us characters as complex and morally flawed as any envisioned by Hammett. This podcast—the third double-feature of "Out of the Past" to examine how the Coens' films have been inspired by the fiction of Cain, Chandler, and Hammett, as well as previous film adaptations of these masters of hardboiled—is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Rita Hayworth is GILDA. From the flip of her fiery hair to the reprise of her incendiary song, she sizzles the celluloid and burns herself indelibly into our collective consciousness. In fact, her presence so scorches that we are apt to miss the technical artistry of this film. Rudolph Maté's superlative cinematography uses banal objects pedagogically, to teach us to read the images: the blinds in Mundson's office make us aware of the fact we're looking, then show us how and where to look; the elaborate staging and framing of staircases make us wonder whether each character's fate is ascending or descending. While the Triad of superb players (Hayworth, Ford, and Macready) fleshes out the elaborate story, it is Maté's camera that builds the suspense. In then end, the cinematography combines with lines of dialogue pronounced by philosopher Uncle Pio to give us the world through noir-colored glasses—a "worm's eye view" that lends Hollywood's biggest stars a distinct earthiness. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Shane Black's 2005 KISS KISS BANG BANG is a film of delirious contradictions. It is part comedy, part tragedy, a bawdy pulp parody and a heartfelt hardboiled homage. The mix would be too eclectic if the film didn't constantly signal its awareness that it is doing something that should be impossible. Black's self-conscious screenplay uses the generic traits of hardboiled to examine the status of hardboiled stories and characters today, poking fun at itself all the while. In this vein, it could be likened to BRICK and THE ICE HARVEST, which similarly find comi-tragic inspiration in a literary tradition while largely abandoning the classic noir visual style. While noir fans may be tempted to track down the movie's numerous references to other novels and films, the greater payoff comes from simply appreciating Black's superb writing and the sublime comic acting of Robert Downey Jr. and Val Kilmer. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

I Wake Up Screaming was produced concurrently with The Maltese Falcon and released shortly after, and thus stands as one of the earliest examples of noir. The Maltese Falcon is the more uniform achievement, successfully coupling a consistent noir visual style with noir themes of disillusionment. But for these very reasons I Wake Up Screaming may be the more important film to scholars of noir. It vacillates between a 1930's-style love story and a war-era tale of existentialist dread, between traditional light-saturated, protagonist-centered staging and elaborate off-kilter compositions bathed in darkness. It is a Janus film, and it is debatable whether it looks primarily backwards or forwards, is principally an ending or a beginning. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

With its throwback hardboiled script and careful restaging of iconic noir shots, Lawrence Kasdan's 1981 BODY HEAT is a noteworthy neo-noir. However, it is no mere nostalgia piece, but rather a daring updating of the tradition: Kathleen Turner's sizzling portrayal of a femme fatale inspired such diverse 1980's and 1990's classics as FATAL ATTRACTION and BASIC INSTINCT, and Kasdan's intricate plotting may even have served as the model for THE USUAL SUSPECTS. On all these points Clute and Edwards agree, but disagree on whether the 1980's were a decade capable of producing true noir--with its nuanced blend of existentialism and fatalism--or whether the fundamentally hedonistic zeitgeist of the era lead to films that simply retained the stylistic trappings of the classic period while delivering a more superficial message. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

"His Kind Of Woman" makes viewers aware of what they expect from noir by disappointing their expectations. The film moves quickly from the down and out digs of gambler Dan Milner (Mitchum) to a sunbathed beachside resort in Mexico. There, it takes its time setting up a complicated intrigue involving a large ensemble cast. It introduces the sultry Lenore Brent (Russell) as a mysterious dame, only to domesticate her by the end of the film, and gives the character of Mark Cardigan (Price)--a B actor and slapstick hysteric--an inordinate amount of time to strut and fret his stuff. For all of these reasons, the film seems light years away from the gut-wrenching bare-bones noir world of the 1940's. However, the presence of Mitchum, strong cinematography by Harry Wild, and John Farrow's coy and self-conscious direction at once recuperate a noir atmosphere and pose important questions about the commercialization of filmmaking in the 1950's. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

The "Noircast Special" podcasts allow Clute and Edwards to address topics of interest to listeners of "Out of the Past" and "Behind the Black Mask." This episode features interviews with the creators of three alternative noir publications: Tee Morris, founder of podiobooks (www.podiobooks.com) and author of the fantasy-hardboiled podiobook "Billibub Baddings and the Case of the Singing Sword;" Kevin Burton Smith, creator of the superlative "Thrilling Detective" website and ezine (www.thrillingdetective.com); and Seth Harwood, author of the podiobook "Jack Wakes Up" starring movie-star one-hit-wonder and ex-drug-addict Jack Palms.

Sam Fuller's 1953 "Pickup on South Street" leaves open important questions that Elia Kazan's "On the Waterfront" will feel compelled to answer, and Fuller's film has a more timeless quality as a result. With artful minimalism, Fuller captures the claustrophobic paranoia of the HUAC era. He uses alternating points of view, pitting each character's vision of America against another's, to create narrative tension and an ambiguous moral. The film is a fork-tongued parable--a warning to all in power to be vigilant, but equally to all citizens to beware the "patriotic eyewash" that allows those with power to misuse it in times of crisis. Accordingly, Fuller's is a world populated by conflicted characters: slick pickpockets and savage cops, sinister federal agents and starry-eyed communist messengers, and hard-edged but soft-hearted street hustlers. Nobody's clean, but everyone has a shot at redemption if they're willing to suffer for it. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Van Heflin, Barbara Stanwyck, Kirk Douglas and Lizabeth Scott all turn in stellar performances in this 1946 gem. For much of its running time the film lacks many of the visual hallmarks of the noir style, but Robert Rossen's pitch-perfect script, delivered with such subtlety by the fine cast, builds a dark backstory that makes what might have been a standard melodrama into a noir masterpiece: the drama of a few individuals is transformed into a parable of post-war America. Add Edith Head's gorgeous costumes and Miklos Rozsa's superlative score, and you have one of the most enjoyable films ever made. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Recently, several Hollywood films, including HOLLYWOODLAND, have revisited traumatic events of the 1940's and 1950's. This new film cycle begs several questions--chief among them, why do the malaise and murder of the postwar years resonate with filmmakers today, and do these films share characteristics that allow us to speak of an emerging film style? Clute and Edwards maintain there are significant differences lurking behind the apparent similarities, and such differences call for more nuanced terminology than the blanket moniker "neo-noir." They propose the tripartite nomenclature of noir-style, neo-noir, and faux-noir, and argue that HOLLYWOODLAND is a superlative example of neo-noir: it tells a throw-back, hard-boiled tale in a new visual style. While Allen Coulter's direction is key to crafting this new look of noir, the acting of a strong ensemble cast is crucial to conveying the heartache caused by the suspicious death of actor George Reeves--TV's Superman. A must-see film for casual fans of classic noir, and serious students of its evolution. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

The 1955 film "Kiss Me Deadly" makes telling changes to Mickey Spillane's 1952 source novel. What was a story of greed and social corruption becomes an allegory of Cold War hysteria. Plot and character cede the stage to emotion and character type. While earlier films noir portrayed the downfall of a flawed person whose bad decisions had far-reaching social consequences, "Kiss Me Deadly" instead pits simplified personages and storylines against an ecstatically elaborate camera vision and sound design. It is at once the boiling down and the blowing up of noir--executed with a degree of camp only the mid-1950's could muster--and as such, it is the fulcrum on which hard-boiled literary tradition and noir film history teeter-totter. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

The "Noircast Special" allows Clute and Edwards to address topics of interest to listeners of "Out Of The Past" and "Behind The Black Mask." This inaugural episode features a roundtable discussion with the director, playwright, and lead actors of The Stolen Chair Theatre Company's off-Broadway play "Kill Me Like You Mean It." Inspired by film noir and the theatre of the absurd, the play is an artful mash-up that demonstrates how dark is the heart of absurdist theatre, and how absurd are the conventions of noir. This podcast--part interview, part radio drama--should please fans of film noir and mystery fiction alike.

Orson Welles's 1958 "Touch of Evil" is considered the last film noir of the classic period. Clute and Edwards investigate why it deserves this designation, arguing that it uses the conventions of noir in such a self-conscious manner that henceforth it will be impossible to tell a straight noir tale. Indeed the film is so self-conscious that it is no more a narrative than it is a demonstration of how to create film narrative. It is considered a great film for this reason, but also because it features myriad strong acting turns, stages Welles's dramatic demise as a Hollywood player, and contains story and character seeds that will come to fruition in films as different as "Psycho" and "Miller's Crossing." This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

In this double-feature podcast, Clute and Edwards investigate Tay Garnett's 1946 "The Postman Always Rings Twice" and the Coen brothers' 2001 "The Man Who Wasn't There"--considering their merits as films, and as adaptations of the novels of James M. Cain. While Garnett makes noir acceptable mainstream fare, with high production quality and glamorous stars like Lana Turner and John Garfield, his film loses the hauntingly arid psychology of Cain's novel. Conversely, the Coens decide not to adapt any one Cain story, but opt instead to recapture the tone of Cain's work; and Cain's heartache seen through the Coens' lens is the very picture of a radically new noir zeitgeist. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Edgar G. Ulmer's 1945 film "Detour" is commonly lauded as a B-noir that overcame production limitations with artful minimalism. In this context, instances of obtrusive lighting and camerawork are viewed as minor blemishes--the best quality that could be expected from a poverty row feature. Clute and Edwards argue that the film should be granted a far greater measure of technical mastery, that the so-called flubs purposefully call attention to the very cinematic means used to construct the narrative.In this optic, the film is not good despite its "flubs" but great because of them; they render it a self-conscious noir meta-narrative--a film about the making of noir films. These qualities combine with a great script and superlative acting, by Tom Neal and Ann Savage, to create the template for all noir post-1945. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

In the murder of Elizabeth Short, novelist James Ellroy found a means to grieve over the rape and murder of his own mother. In the novel THE BLACK DAHLIA Betty is at once a symbol of the post-war era torn apart by its passions, and a symbol of Bucky Bleichert's/James Ellroy's search for meaning. Likewise, but dissimilarly, Betty serves a double function in De Palma's film. She seems to be an embodiment of cinematic history split between classic and post-modern eras, and of De Palma's search to assemble the perfect visual experience from pieces of his own filmic corpus. Stripped of her historical referent by De Palma, the Dahlia no longer evokes the same horror--and what is true for her is true for the film as a whole. It's various components--fine cast, clean screenplay, competent cinematography--are stitched together with near-surgical precision, but never suture us into a position where we feel we're part of the story. When the struggles of the players cease to be anything we can relate to, we can only wonder why their tale is dubbed noir. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Did noir die in 1950? As a filmic style, certainly not; many of the most daring visual and narrative experiments of the classic period date from 1951-1958. However, 1950 seems to mark a dramatic transition in what might be called noir philosophy. The strong men of the post-war years, who were victims only of their own errors in judgment, cede the screen to indeterminate men, who fall victim to forces they never grasp. This transition infuses the noir universe with a crueler sense of irony but also frees directors from certain conventions, thereby ushering in a quirkier and more self-conscious era in noir's history. D.O.A typifies this era, but is saved from ambiguity by Edmond O'Brien's strong performance. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Dick Powell was cast as Philip Marlowe in the 1945 film "Murder, My Sweet." Was it a stroke of genius to allow a song and dance man to reinvent himself in this role, or the desecration of a literary icon? Clute and Edwards are deeply divided on this issue, but find many topics on which they agree: whether the viewer considers Powell's performance a triumph or a tragedy, it is evident that the tension between the two strong female leads (Claire Trevor, Anne Shirley) is a fundamental driving force of the film; with numerous deft touches director Edward Dymytrk pulls the audience into Marlowe's point of view, and demonstrates the investigator's inner turmoil; Chandler is the fulcrum on which post-war film and literature teeter because Philip Marlowe is the perfect embodiment of the psychologically-scarred modern Everyman. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

This film deserves its reputation as an important early police procedural and precursor to the television series "Dragnet," but does not deserve to be viewed reductively--as only that. Anthony Mann's un-credited direction was among his best. He coaxed strong performances out of actors given few lines, and made every shot count. Cinematographer John Alton brought the darker sides of Los Angeles to life, and Alfred DeGaetano made brilliant editing choices to overcome limited sets, a bare-bones script, and the lack of big-name stars. Their combined efforts produced an oft-imitated 79-minute B-masterpiece, and demonstrated how much talent was to be found in the poverty row studios. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Robert Towne's screenplay for the 1974 film "Chinatown" tells an original story, but a story whose scope, intrigue, characters, pacing, and style owe a great debt to the work of Raymond Chandler. That said, it would be a mistake to view "Chinatown" as a simple nostalgia piece. In this tale of the fundamental--indeed foundational--corruption of Los Angeles, Director Roman Polanski, Writer Towne, and Cinematographer John Alonzo tell a hard-boiled tale in a modern filmic style, and this productive collision allows them to simultaneously critique and reaffirm the mythic qualities of genre literature and film. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Elia Kazan might have broken the Hollywood Blacklist. Instead, when HUAC (House Un-American Activities Committee) asked him to name names, he sang like a canary. His actions ended many careers, and broke the spirit of many Hollywood players. Kazan never apologized; indeed, his career and life from that moment staged a defense of his decision. "On the Waterfront"--which won Oscars for Best Picture, Best Director for Kazan, Best Actor for Brando, and Best Actress for Eva Marie Saint--was his most elaborate, and perhaps eloquent, staging of what he felt to be the righteousness of his actions. The script and visual style are very noir, and the effect is jarring--for noir usually tells the tale of a man who makes a mistake, and is haunted by the consequences. Here, noir is co-opted by a man who wants to believe he can do no wrong. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

As America intoned the mantra "Communism," fear became its religion and McCarthy its high priest. George Clooney's "Good Night, and Good Luck" investigates Edward R. Murrow's brave act of voicing dissent, at a time when dissent was seen as un-American. The film shows an America living in fear of Communism in the 1950's that is very much like an America living in fear of Terrorism today, and demonstrates why the media--then and now--rarely question controversial pundits and their pronouncements. The media are dependent on advertising revenue; advertisers want to reach the largest possible audience; audiences want to be entertained, not educated. For these very reasons, creatively funded films often voice stronger objections than other media dare to voice. While "Good Night, and Good Luck" is not a film noir per se, Clooney seems to recognize that noir themes and stylistics may be called upon when American cinema has a message to deliver--like the heavy hired to knock some sense into us. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

The most famous texts of any canon are rarely the most typical; rather, they push the limits. The fame of Billy Wilder's 1950 masterwork "Sunset Boulevard" is of this problematic sort. The film plays on all the usual themes of noir: mysterious deaths; a male protagonist doomed by a single bad decision; a femme fatale who twists his hopes to resemble her own, and slowly trims away his universe until she is the sole star guiding his fateful journey. But these themes are absurdly exaggerated. The first death is of a pet monkey. The narrator is telling his story from beyond the grave. The female star has imploded under her own gravity, and becomes something of a tragicomic black hole that pulls in the entire constellation of poor players. More than noir, the film is a self-conscious staging of the crime that is Hollywood. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Kubrick's "The Killing" weaves the narrative threads of each character's story into the complex yarn of a heist. Tarantino's "Reservoir Dogs" ties references to numerous films into a dense knot. The pleasure of watching, and difficulty of discussing, Tarantino's work arises from having to pick at, and follow, seemingly infinite threads to their points of origin. Text is henceforth hypertext. As Clute and Edwards follow the many links from Tarantino back to Kubrick, they investigate what's at stake when the canvas of noir is stretched to drape a corpus like Tarantino's. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Stanley Kubrick and Quentin Tarantino both launched their careers by updating the noir tradition. In the first episode of a two-part comparative analysis, Clute and Edwards demonstrate how Kubrick's "The Killing" (1956) and Tarantino's "Reservoir Dogs" (1992) come more clearly into focus when each is viewed through the lens of the other. "The Killing" might be considered a masterwork on its own merits. Kubrick's careful composition of every shot demonstrates his deep sympathy for noir tradition, but he adds much that is new: a non-linear narrative more fractured than any previously attempted; an omniscient voice-over and inventive sound design to guide the viewer through the non-linear tale; the staging of a playful self-consciousness; an element of chance that ultimately trumps self-determination or fate as the most powerful force in the noir universe. In short, Kubrick opens the door for Tarantino. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

As crisp and fluid as a boxer's footwork, Robert Wise's editing turns a lightweight script into the heavy-hitting drama "The Set Up." Art Cohn's screenplay is a very Hollywood adaptation of a 1928 poem by Joseph Moncure March. The poem is a shot to the gut--a powerful meditation on race that shows a black American is never in for a fair fight. The 1949 screenplay is the flyweight story of a down and out white fighter who thinks he's one punch away from glory. But Robert Wise and Robert Ryan prove that any story, when told masterfully, can pack a punch. The whole gritty-grimy world is boiled down to one arena, and one man's fight with fate becomes the story of us all. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

What good is it to be a sharpshooter when there's no war on? If you want to understand the sense of impotence and angst that defined the postwar generation, "Gun Crazy" is a case study. With a deft and almost whimsical touch, Joseph Lewis sketches a country in transition--uncertain whether to gratify its thirst for heroism or its hunger for things, big things, lots of things. The film also signals a dramatic transition in filmmaking. In a giant stride, it seems to have one foot in the silent film era (think Murnau's "Sunrise") and the other in the New Wave (think Godard's "Breathless"). A must-see for anyone wanting to understand the evolution of noir. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

This is perhaps the most noir of all neo-noirs. Never has 1990 Los Angeles looked and sounded so much like 1950 Los Angeles. While Stephen Frears sets Jim Thompson's source novel at the time the film is made, he carefully trims away modern LA. The film moves between the Bryson Apartments, the racetrack, and scenes on a train. Gone are the glitter and glitz of modern downtown and its skyscrapers. In their place are the greed and grift that have always been the motor driving the City of Angels--forces so strong they tear families to shreds and answer prayers with death. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Every Orson Welles film demonstrates the great director's ability to work with and against filmic tradition. "The Lady from Shanghai" is a compendium of noir conventions: it tells a tale of post-war greed, of Americans willing to tear each other asunder for a dollar; it is the story of an irresistible dame and the smart guy who becomes a chump the second he lays eyes on her; it uses A-stars against type so as to bring out their blemishes and inner demons (even daring to cut and dye Hayworth's famous hair!). It is thus a classic noir tale, but it is executed with such self-consciousness that the viewer is left to wonder if it isn't the beginning of the end for noir--an elaborate staging of the demolition, the shattering, of the film noir universe. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

The question of whether Hitchcock is a noir director remains open. What is certain is that by 1946 noir aesthetics began to inflect every genre from the Holiday picture ("It's a Wonderful Life") to the espionage/thriller film. Like "The Third Man," "Notorious" is best described as the latter, for its political and geographical scope exceed what is typical of noir, and justice is defined and done in unambiguous terms. Nevertheless, at crucial moments a noir camera vision is manifest. More importantly, Hitchcock has his stars play their darkest roles: Bergman is the alcoholic tramp daughter of a convicted Nazi; Grant plays the cold-hearted and sadistic spy who is her only hope. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

With "It's A Wonderful Life" Capra launched his independent studio, Liberty Films. He thought he had a guaranteed box office winner, with stars Jimmy Stewart and Donna Reed, and the power-to-the-people message that had made his pre-war films such successes. He was wrong. Capra never seemed to realize what a dark film he had made, nor understand that his populist message no longer resonated. This film would not acheive great success until decades later, when the divorce generation would (mis)read it as a tale of the redemptive virtues of the nuclear family. Richard and Shannon read it as a proof of just how influential noir's themes and visual style were in the wake of the war. Welcome to 1946--the year of suicide, and noir. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Hollywood began tearing itself apart with accusations of Communism in 1947, and in 1949 American director Jules Dassin was blacklisted. In order to pursue his craft he fled to France, where he cobbled together a small budget and a motley crew of B stars. Together they created the heist masterpiece Rififi, the tale of a ragtag international band of thieves who use inferior tools and superior know-how to pull off the job of a lifetime. They are in the clear until somebody rats and then one by one they are hunted down. The real crime is that Dassin had to fashion this allegorical gem while in exile. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

When "The Big Lebowski" was released in 1998, Ethan and Joel Coen claimed its "episodic" narrative structure found its source in the work of Raymond Chandler. In this super-sized double-feature podcast, Richard and Shannon examine "The Big Lebowski" against Howard Hawks's 1946 noir "The Big Sleep," and both films against Chandler's 1939 novel "The Big Sleep." Beyond their similar narrative structures, these works all present consummate dialogue, a panoply of memorable characters, and crimes and anxieties impossible to imagine outside Los Angeles--the city of angels, and noir. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/

While Robert Siodmak's noir triumph "Ernest Hemingway's 'The Killers'" flaunts its literary bloodlines, Hemingway's 1927 short story is little more than a pretext. The film actually investigates the fundamental post-WWII question: in a world where every man bears scars from the fight, how and why does he keep fighting? Siodmak's answer seems to be the very one given by Albert Camus in his famous essay "The Myth of Sisyphus." At the moment a man accepts the burden of his existence, bends to shoulder the stone of his being, he is greater than his destiny. Siodmak adds a caveat: if a man knowingly wrongs another he seals his own doom, and the killers descend on him like Fate itself. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/

Otto Preminger's 1944 "Laura" marks an important transition in film history. Visually it harks back to Hollywood's Golden Era, flooding with light elaborate sets and the glamorous stars they hold--but at crucial moments a noir vision bubbles up to artfully blemish this smooth facade. It is a classic love story--except that it hinges on forbidden fantasy and murder. It at once gives a coy nod to the parlor psychology of the "Thin Man" variety of mystery, and looks forward to the dark Hitchcockian psychological thriller. It is a Janus of a film, and it may be eternally debated whether its double vision signals an end or a beginning. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/
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Shannon and Richard argue that John Huston's directorial evolution from "The Maltese Falcon" to the prototype heist film "The Asphalt Jungle" provides a blueprint of the evolution of film noir from the early 40's to the early 50's. With "The Asphalt Jungle" noir enters an even darker phase in it's history: an ensemble of tragic criminals (all brilliantly cast) displaces the strong leading man; the certainty of contained criminality cedes to the anxiety of widespread malfeasance; the city is a wasteland of corruption; time is an inexorable force that marches characters toward their doom. It is a vision so dark, so fatalistic, that it seems to owe as much to Italian Neorealism as to the noir tradition. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/
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One of the only female directors of Hollywood's Golden Age, no one could coax more from actors or tell a story with greater economy than Ida Lupino. Her 1953 gem the Hitch-Hiker hooks you with the opening still and leaves you breathless and running scared for seventy perfectly polished minutes. Lupino rubs the sheen off violence to create a quasi-documentary vision of criminality striking at random the most remote corners of society. A profoundly unsettling film, it works above all on the male psyche, blowing wide open the post-war crisis of masculinity in a culture "up to its neck in IOU's." This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/
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Out of the past and straight into the future, Ridley Scott blends film noir and science fiction in "Blade Runner." Richard and Shannon query this unusual mix, and ask how a style that is often as outlandishly unrealistic as noir could be used to make science fiction feel more grounded and approachable. They consider why, aside from strong performances by Harrison Ford, Rutger Hauer, and Daryl Hannah, this film achieved such renown, and came to be considered the epitome of neo-noir. Like the DNA of the humanoid Replicants in the movie, the filmic code Scott created in "Blade Runner" has proved to be as ineluctable as it is generative. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/
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This episode examines the classic "The Maltese Falcon." Based on a book by Dashiell Hammett, starring Humphrey Bogart, directed by John Huston, it is generally considered the first "film noir." As Richard and Shannon examine this landmark film, they discuss film noir's debt to hard-boiled fiction, Huston's inventive camerawork as the beginning of a visual style, and Bogart's portrayal as the prototype for noir tough guys. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/
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As they discuss "The Third Man," starring Orson Welles and Joseph Cotten, Shannon and Richard debate whether film noir is a "style" or a "genre." As a style many of its visual features can be adapted to other genres (war films, westerns). If it is a genre such adaptations are problematic, for "noir" has recognizable themes. Richard and Shannon have a lively debate over these definitions, and the question, "is 'The Third Man' a film noir?" Their different answers lead to very different assessments of the film. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/
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Episode three of this podcast series investigates Christopher Nolan's blockbuster "Batman Begins" in relation to the visual and narrative conventions of film noir. Richard and Shannon ask what it means to dub a modern film "noir," as many reviews of "Batman Begins" have done. They discuss the complexity of Christian Bale's Batman, and how it seems to draw on sources as diverse as hard-boiled fiction and Frank Miller's graphic novel "The Dark Knight Returns." Likewise, they discuss the visual style of "Batman Begins" in relation to such films as Fritz Lang's "Metropolis," Ridley Scott's "Blade Runner," and Tim Burton's "Batman Returns." A great overview of "noir" from its origins to the present. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/
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In this podcast, Clute and Edwards investigate Billy Wilder's 1944 noir classic "Double Indemnity." They place the film in its historic context and query its unusual success; it was nominated for seven Academy Awards in a year when feel-good films like "Going My Way" were the rule. They conclude that while Wilder's direction is a masterpiece of subtlety, the film owes its enduring legacy to two factors: the strong acting of Barbara Stanwyck, Edward G. Robinson and Fred MacMurray; the unsurpassed script by Billy Wilder, James M. Cain and Raymond Chandler. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/
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In this premier episode, Shannon Clute and Richard Edwards discuss Jacques Tourneur's noir masterpiece "Out of the Past." They explain why it is the first film they choose for their continuing series of podcasts delving into the history of film noir. In the course of a lively discussion of this film, Clute and Edwards argue that while "Out of the Past" is not an early noir, it is nonetheless a prototype that helps the viewer define just what is film noir. As of July 15th, new episodes will be available for downloading on the 1st and 15th of each month. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/
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On January 20, 2011 Clute introduced the film Mildred Pierce at the George Eastman House in Rochester, New York, as part of their Noir Series. His talk was preceded by a question and answer session with Jared Case (Head of Cataloguing and Research Center) on several noir topics: the origins of the Out of the Past podcast series; certain underappreciated aspects of noir; how scholarly approaches to noir have limited what we see; a new film studies paradigm he and Richard Edwards worked out in their forthcoming book The Maltese Touch of Evil: Film Noir and Potential Criticism, which allows them unleash and understand other narrative potentials lurking in noir. For more information, visit www.noircast.net, or like us on Facebook under Noircast.

Clute and Edwards are joined by L.A. Noire: The Collected Stories editor Jonathan Santlofer, a hard-boiled writer and artist extraordinaire. Santlofer discusses the particular challenges and rewards of bringing together a short story collection for a video game production company from tight deadlines to restrictions on spoilers and the need for publishers of all media to put story first in this brave new era when the medium and the target audience grow ever harder to define. A fascinating conversation for all fans of videogames, hard-boiled fiction and things noir. For more noir podcasts and projects, visit Noircast.net or join us on Noircast at Facebook.

Shannon Clute, Seth Harwood, and Richard Edwards presented this Cybernoir panel on April 5th, 2008, as part of the Noircon Conference in Philadelphia. Clute and Edwards kick things off with a discussion of how noir style and pulp publishing models seem to provide the fundamental structuring logics of emerging digital media—from blogs to podcasts, mashups to video games. Seth Harwood then relates his own experience of podcasting his first novel, JACK WAKES UP—from producing the initial audio, to embracing various new media in order to cultivate an audience and tap their enthusiasm and skills to promote his work. Finally, all three panelists consider how pulp-logic productions in these various media are likely to change the ways books are published and marketed. This special edition podcast includes all Power Point slides from the panel, synchronized with the audio, for your viewing pleasure. Moreover, there are embedded links at the bottom of the images, which allow you to surf related links while listening. The podcast is optimized for iTunes, and will run on any machine that has iTunes installed. It is brought to you by Clute and Edwards of www.noircast.net, and Seth Harwood of www.sethharwood.com.

Clute and Edwards discuss the editing and publishing of noir fiction with three members of this Day 2 Noircon panel: Charles Ardai, Stacia Decker, and Michael Langnas. Charles Ardai is the editor and publisher of the Hard Case Crime series. Stacia Decker is an editor who has worked with such writers as Ray Banks, Declan Burke, Allan Guthrie and John McFetridge. Michael Langnas is the editor-in-chief of Murdaland Magazine, a crime-fiction journal put out by Baltimore-based publisher Cortwright McMeel. The three guests offer us a behind-the-scenes look into the world of noir publishing. The panelists address violence in noir fiction, the complex appeal of noir, and the challenges and pleasures of editing and publishing noir writing. For more information about Noircon, visit the official conference website at www.noircon.com. For more information about the hard-boiled podcasts of Clute and Edwards, visit www.noircast.net

Philadelphia noir is the focus of two panels at Noircon 2008. The first panel presents the historical moment, cultural milieu and writings of the 19th century Philly writer George Lippard. Ed Petit and Robert Polito make a compelling case to consider Lippard an important proto-noir author, an author whose writings look back towards 1798's gothic novel WIELAND and forward towards 20th century hardboiled. The second panel addresses the issue of Philly noir through a discussion among noir and crime writers currently living and working in Philadelphia. Clute and Edwards talk more with Philly authors William Lashner and Jon McGoran (D.H. Dublin) about what is Philadelphia noir and how does Philadelphia figure as one of the great American noir cities. For more information about Noircon, visit the official conference website at www.noircon.com. For more information about the hard-boiled podcasts of Clute and Edwards, visit www.noircast.net

Day One: Opening Night. Noircon 2008 opens at the Society Hill Playhouse in Philadelphia, PA. Clute and Edwards kick off this special podcast mini-series coverage with short interviews from the opening night reception. They talk with film critic Irv Slifkin, authors Gary Phillips, Seth Harwood, Ken Bruen, “The Czar of Noir? Eddie Muller, publisher Dennis McMillan, conference organizer Lou Boxer, and author Duane Swierczynski. We finish with an interview of the first presenter of Noircon, Professor David Schmid, who gave a talk entitled “Noir and Its Heretics.?

Wise guys and femmes fatale form the central focus of these next panel discussions from Noircon 2008. In the first half of the podcast, Clute and Edwards talk with authors George Anastasia and Anthony Bruno. Anastasia and Bruno are two seasoned mob-watchers who uncover life on the mean streets-Philly style. Based on their Noircon panel, Wise Guy Noir, they give us an inside look into the Godfathers and Goodfellas of Philadelphia. In the second half, Clute and Edwards lead a lively roundtable discussion on the femme fatale with four authors who have strong female characters at the center of their novels: Megan Abbott, Christa Faust, Vicki Hendricks, and Jonathan Santlofer. The discussion touches on many different aspects of the femme fatale and the homme fatale (fatal man). For more information about Noircon, visit the official conference website at www.noircon.com. For more information about the hard-boiled podcasts of Clute and Edwards, visit www.noircast.net